. Studio International. ont produit que, accentuation ou graceful légèreté ; grâce à l'incroyable série de le livre de Samuel, qui est fonction de l'avion, ou le caractère de la silhou- Glicensteins principale réalisation dans ce ette-en un mot, il transmet sur un formulaire de hisideas completelj et émotions afin qu'il requiresno la sensibilité particulière de la part de la spec-tator pour donner le titre exact de la majorité des œuvres sculptées ofGlicensteins. Assez étrangement, ses dessins-d'whichthere doivent être des milliers dans ses portefeuilles-aremore sculpturesque picturale que dans le caractère. ticu

• Contributeur: The Reading Room / Alamy Banque D'Images
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• Dimensions: 1795 x 1392 px | 30,4 x 23,6 cm | 12 x 9,3 inches | 150dpi

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. International studio. have produced that accentuation, or graceful lightness; through the astounding set of the Book of Samuel, which is relation of planes, or the character of the silhou- Glicensteins principal achievement in this par- ette—in a word, through form—he conveys hisideas and emotions so completelj that it requiresno particular sensitiveness on the part of the spec-tator to give the correct title to the majority ofGlicensteins sculptured works. Strangely enough, his drawings—of whichthere must be thousands in his portfolios—aremore pictorial than sculpturesque in character. ticular branch of art. Every figure has monu-mental character and sculpturesque compactness.The very arrangement of the designs on the etchedsurface is suggestive of bas-reliefs; and the lineitself is chiselled in rude strokes rather thancately scratched into the copper. Throughoutthere is a primitive vigor and directness impatientof all unnecessary detail, and ain ly at A P R I L 9 2 2 one sixtv-n 1 ne mceRDACionAL. m the utmost expressiveness ofgesture, action and movement.Glicenstem goes straight lor the spirit and innermeaning of the thing, and discards all archaeologywhich would tie his interpretation to place orperiod. The appeal of these strangelj fascinatingdry-points is as universal as that of the artistsplastic conception. He isnot a painter-etcher, but a sculptor-etcher.For those interestedin biography, I may addthat Glicenstein was bornat Turek, in RussianPoland, in 18^0—the sonol a poor tombstone en-graver. God-fearing andupright and full of Tal-mudic learning, he waslirst intended to be arabbi, but his artisticleanings prevailed, andhe worked for some yearsas a sign-painter andwood-carver. At the ageol twenty he entered theMunich Academy, underProfessor Ruhmann, and And Samuel told him every whit, andlud nothing from him

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